film

Comfy, Cozy Cinema: Benny & Joon (without major spoilers)

/ Lisa R. Howeler / 10 Comments

Erin from Still Life, With Cracker Crumbs and I are hosting Comfy, Cozy Cinema again this year and first up on our movie-watching list was Benny & Joon.

Benny & Joon (1993)is a quirky film I watched in 1990s and really enjoyed. It was when I first saw Johnny Depp because I never watched 21 Jump Street or anything else he was in back then.

I already knew Mary Stuart Masterson from Fried Green Tomatoes.

For the most part, the movie is funny, comfy, and sweet, but there are a couple of hard moments. In the end, though, (small spoiler ahead —–à) things actually turn out okay.

Let’s start with an online description of the movie:

Benny (Aidan Quinn), who cares for his mentally disturbed sister, Joon (Mary Stuart Masterson), also welcomes the eccentric Sam (Johnny Depp) into his home at Joon’s request. Sam entertains Joon while he dreams of a job at the video store. Once Benny realizes Joon and Sam have started a relationship, he kicks Sam out of the house. This leads to an altercation between brother and sister. Joon runs away with Sam, who soon realizes that she may need more support than he alone can provide.


This movie starts with someone painting and a train rolling across the tracks to the soundtrack of The Proclaimers singing I’m Gonna Be (500 miles). Yes, that very annoying song that is an earworm and was overplayed in 1993. Okay, it’s not actually annoying. I like it! But it won’t get out of my head once I’ve heard it. And I mean for more than a week!

Anyhow, back to the movie.

After we see a woman painting we are at Benny’s Car Clinic where we see Benny (Aiden Quinn) fixing a car and chatting with his friends when a call is made from his home. His sister Joon wants him to know that they are out of peanut butter Crunch cereal.

Later at Benny’s home we meet Joon who seem a little different but otherwise fairly sane and smart.

She’s clearly very intelligent with the way she uses large phrases and big words. Still, she also seems somewhat childlike.

As the movie goes on we will lean that Joon has mental issues and sometimes likes to light things on fire.

She rarely leaves the house alone, instead staying in the house and painting. Housekeepers take care of her during the day but on this day one of them, apparently one of many, is calling it quits.

Joon is out of control she tells Benny. That means Benny is without someone to sit with Joon during the day and he’ll have to miss his card game with his friends that night because Joon can’t be left home alone very much.

His friend, Eric (Oliver Platt), tells him just to bring Joon, but Benny hesitates.

“What’s the big deal?”Eric says. “She paints and she reads.”

“Yeah, she paints. She reads. She lights things on fire,” Benny responds.

As my Mom would say, “Oh. Oh. My.”

Once at the game, though, Joon does fairly well, even if she does like holding her hand over the flame of a candle a bit too much..

We learn that Benny’s friends place real items in the pot for their poker game and this will come into play later in the movie when Joon decides to play a round while Benny is outside and Benny’s friend Mike says if she loses the hand she has to take his eccentric cousin off his hands.

That cousin is a 26-year-old name Sam (Johnny Depp) who can’t read or write and doesn’t know what he wants to do with his life. He likes Buster Keaton and has been studying him, though, dressing like  him and taking on his persona while being generally …. Weird.

 At first Benny says he won’t take Sam but then he agrees and over time Sam becomes the housekeeper and a whole lot more to Joon who falls hard for him.

Before all of this, though, Joon’s doctor suggests that Benny have Joon placed in a group home where she will be among her peers.

Benny laughs. “She has a home.” Not only that but, “She hates her peers.”

The doctor sighs. “You might want to consider there are people more capable of handling these outbursts than you.”

Benny rejects this idea over and over again even though his whole life is put on hold so he can care for Joon. He doesn’t have a love life or any life outside of work.

There will come a time, though, when it does have to be seriously considered. I won’t give away anymore than all of this because this movie is worth a watch. It is actually sweet and when you think it is going some place you don’t want it to, it will change directions and pleasantly surprise you.

Don’t let the dark music that sometimes pops up scare you.

Mixed in with all the drama with Joon, by the way, is a potential romance between Benny and Ruthie, a local waitress who used to be in B-movies.

This movie  has always charmed me. It’s made me laugh, smile, and enchanted me. I’m a big sucker for quirky movies with quirky characters.

As I watched the movie this time around (maybe my fifth time watching it), I realized that I think I am attracted to this movie because my great-aunt was schizophrenic and an artist. Maybe I saw some of her in Joon, even though I never met her. Mental illness has always frightened me. My great-aunt was sent to a mental hospital when she was in her 40s after years of acting odd. From what I understand she was diagnosed with schizophrenia and I always wondered if it might happen to me too. I liked art and I was even a little odd at times. Ha! So far I’m just depressed and have anxiety. No schizophrenia.

I should clarify that this movie never defines what Joon has but many viewers suspect a combination of conditions, including schizophrenia.

There are several classic scenes in this movie for me.

One is when Sam uses forks to make buns dance:




The other is when Sam reenacts Ruthie’s horrible acting in the B-movie (which can also be seen at the above clip)

Another is the absolute look of delight Sam gets when Benny says Joon sometimes hears voices in her head. That makes me crack up every time. It’s like he thinks the idea of her hearing voices is absolutely delightful.

Then there is Sam making grilled cheese sandwiches with an iron.

Then there is also a scene toward the end of the movie that you will have to see — you’ll know what it is when you see it.

There are also so many good quotes that come from either Joon or Sam too

When Sam is staring at Joon at one point she says, “Having a Boo Radley moment are we?”

As a huge fan of To Kill A Mockingbird, that one always cracks me up.

Later when she and Benny watch Sam make the grilled cheese sandwiches she says, “Some cultures are defined by their relationship to cheese.”

In the restaurant one day Joon picks the raisins out of her tapioca pudding and Sam asks her why she doesn’t like raisins.

“They used to be fat and juicy and now they’re twisted,” she says. “They had their lives stolen. Well, they taste sweet, but really they’re just humiliated grapes. I can’t say I am a big supporter of the raisin council.”

He then asks her if she saw those dancing raisins on TV and she says they scare her. That always cracks me up because they used to scare me too!

Some Trivia and Facts

I always wondered this so I looked it up and Johnny does do his own stunts and tricks when imitating Buster Keaton. This does not surprise me in the least.

Apparently, Wynonna Ryder was going to play Joon but she had Johnny had been dating at the time and broke up so she dropped out. I think I could actually see her playing Joon, even though Mary Stuart Masterson did great.

Johnny improvised a scene where he tasted the paint of one of Joon’s paintings. This also doesn’t surprise me.

From IMdb: “During the filming of the scene where Benny rushes to Joon’s aid after she is put into an ambulance, a house party was happening less than a block away from the shooting in Spokane’s Peaceful Valley area (it was a day scene actually filmed at night). After hours of re-takes, Jeremiah S. Chechik bribed the local revelers with a cornucopia of food from the crew’s food tent, which kept them pacified long enough to finish the scene (at around midnight).”

Though released in the UK and Australia in 1988, the song I’m Gonna Be (500 Miles) was not well-known in the United States until this movie. Once it was in the movie it reached number three on the Billboard Charts in the U.S. and was played ad nauseum until many people, such as me, were sick of hearing it. (Again, I do like the song. It was just overplayed that year.)

Another tidbit directly quoted from IMbD: “In the restaurant scene between Sam and Joon, as they are discussing raisins, Sam says, “It’s a shame about raisins.” This is a tongue-in-cheek reference to the video for the Lemonhead’s hit, “It’s a Shame about Ray,” which was released the year before and in which Johnny Depp starred. (At the end of the video, Johnny can be seen carrying a curved cane almost identical to Sam’s.)”

Of the film, Rogert Ebert (a famous movie critic back  in the day) said, “Benny and Joon” is a film that approaches its subjects so gingerly it almost seems afraid to touch them. The story wants to be about love, but is also about madness, and somehow it weaves the two together with a charm that would probably not be quite so easy in real life.”

For once, he actually liked a film I liked and ended his review with this: ““Benny and Joon” is a tough sell. Younger moviegoers these days seem to shy away from complexities, which is why the movie and its advertising all shy away from any implication of mental illness. The film is being sold as an offbeat romance between a couple of lovable kooks. I was relieved to discover it was about so much more than that.”

Have you ever seen this one? What did you think if you did?

You can read Erin’s impressions of the movie here.

Up next in our Comfy, Cozy Cinema is: A Knight’s Tale.

You can see the rest of the list of movies in this cool graphic that Erin made:

Summer of Angela: The Long Hot Summer

/ Lisa R. Howeler / 6 Comments

This summer I am watching Angela Lansbury movies for the Summer of Angela.

This week I dropped the movie with Angela and Warren Beatty that seemed super dark and replaced it with The Long Hot Summer, which I actually watched in 2022 during my first ever movie marathon called The Summer of Paul (Newman that is). For the life of me, though, I could not find that I wrote a blog post about the movie, so I am starting from scratch here.

The Long Hot Summer is not an Angela Lansbury focused movie, but she is in it and fills the screen with her personality when she is on it. The main stars are, of course, Paul Newman and Joanne Woodward, but Angela provides some comic relief as Orson Welles’ mistress, Minnie Littlejohn.

First, a bit of background/description of the movie with the Google description:

Handsome vagabond Ben Quick (Paul Newman) returns to the Mississippi town his late father called home, but rumors of his dad’s pyromaniac tendencies follow him as soon as he sets foot there. The proud young man’s determination eventually wins over civic leader Will Varner (Orson Welles), who decides Ben might be just the man for his daughter, Clara (Joanne Woodward) — much to the displeasure of Will’s gutless son (Anthony Franciosa) and Clara’s society boyfriend (Richard Anderson).

The movie’s main focus is the sexual tension between Paul and Joan’s characters, which worked out fine since the two were having an affair before this and were on the cusp of being able to announce that since Paul Newman’s divorce was essentially final. Yes, I have always been a fan of Paul, but, no, I don’t like that part of his and Joanne’s story, and I have a feeling there were times they didn’t like it either.

Paul was always good at playing loners, sad men who don’t know who they are or what they want in life except the woman they set their sights on.

It’s the same in this movie, where Paul seems to want prestige but really just wants Clara to like him as much as he likes her. Clara is uptight, though. She does everything proper and never lets her guard down, especially around Ben Quick. She seems to have a feeling if she does let her guard down all of those feelings she’s been trying to protect all  her life will spill out.

It’s no surprise since her daddy (Welles), is also pretty uptight and fights for control over everything in his life. That’s why he won’t marry Minnie, who desperately wants to be married.

The movie opens with Ben Quick being told to get out of a county because he is charged with burning a man’s barn because he got mad at the man. There was no proof, though, so instead of jailing him, the town tosses him out.

He rides a couple of steamers down the river to his family’s old town and when he’s hitch-hiking he’s picked up by sour Clara and her bubbly friend.

We find out how sour she is when he asks, “So you girls just take your fun wherever you can find it?” And Clara responds with, “Don’t jump to conclusions, young man, we’re giving you a ride and that’s all we’re giving you.”

The sparring between Clara and Ben kick off right from there and continue on in the movie.

The first sign we see is a welcome sign to Fishermen’s Bend, home to – well, everything owned by someone named Varner.

Ben tells the girls that it sounds like Varner is the man to see about work in that town and the bubbly girl says that he can see Mr. Varner every night at their house. He asks if they are connected to Varner and the girl giggles that they are indeed and then drive off and leave him there at the town hall.

Back at the Varner house, Eula, Clara’s sister-in-law, is gushing to her husband Jody about all the clothes she bought, and Clara is on the terrace sipping lemonade with her friend Agnes when Ben shows up again.

The ladies were talking about how they are single and lonely before Ben showed up. Agnes mentions how he might be an option and Clara quips that they haven’t gotten so desperate as to be turning to strangers.

Ben asks Jody about working one of the tenant farms to make some money off of. Jody agrees before running back upstairs to make out with Eula. The servant comments when he sees muddy footprints on the rug after Ben leaves, “Mister, you sure do leave your calling card.”

That’s a bit of foreshadowing and an understatement.

As the movie goes on Ben will work his way into the family in more ways than one, upsetting the apple cart, so to speak.

Clara walks the carpet back to Ben’s tenant house with a little black boy (yep, another servant down here in the South) and tells him you dirty it, you clean it.

What follows is some great dialogue, which continues throughout the movie.

“A lot of fuss to be making about a rug lady, if it’s the rug that’s bothering you.”

Clara tips her chin up. “What else would it be?”

Ben spits out a watermelon seed. “Well now you correct me if I’m wrong but I have a feeling I rile ya’. I mean me being so mean and dirty and all.”

“Mr. Quick, you being personal with me, I’ll be personal with you. I spent my whole life around men who push and shove and shout and think they can make anything happen just by being aggressive and I’m not anxious of ‘nother one around the place.”

Ben smirks. “Miss Clara, you slam a door in a man’s face before he even knocks on it.”

All Clara says is for him to have the rug at the house by 6.

It shows how bigger than life Varner is when he comes back into town in an ambulance or police car (not sure which ) with the sirens blaring. The people in town who watch him drive through talk about how he was in the hospital and had something cut out of him.

Then it’s time for Angela, the point of this here Summer marathon. She comes running out of the Littlejohn Boarding House and Hotel as soon as he pulls up, wearing a tight and tiny white dress, and throws her arms around him. Her Southern accent is so jarring being familiar with her original accent and the American one she ended up developing as the years went on.

He laughs and declares she seems to be getting fatter and blonder on him.

Oh yeah…Didn’t I mention what a charmer he is?

He tells her he will be back…later. *wink* *wink*

He greets his family at home, with a clear critical eye on his son who seems desperate to please his father. That will come to play in a big way in the movie.

Orson Welles’ color is so horrible in this film, and I don’t know if that is because he is supposed to look sick or if it was bad makeup or if Orson Wells was that color back then. Then again, a couple of the other men had that weird color to their skin too. Maybe it was just bad makeup or the film itself.

Despite his color, Minnie wants to marry Daddy Varner, and she lets him know that. He avoids her as much as possible, preferring to keep control of his world.

What Angela said about the movie:

Angela’s plays a playful flirt in this film, not a dark femme fatale like A Life At Stake and she credited the director, Martin Ritt, for bringing that playfulness out in her.

“Martin Ritt had a wonderful enthusiasm and earthy sexy quality himself,” she said. “He loved the idea of the dirtiness of the carryings on, and he certainly brought every bit of kind of naughty sexuality out of me in that role.”

As for Orson Welles, Angela agreed with others who said he was used to getting his own way because he normally had control of his own projects. This project wasn’t his though.

“He was always nudging and pushing for things and wanted to change lines,” said Angela. “But had to be carefully handled so that he didn’t always get his way because his way wasn’t necessarily the best way for everybody else in the scene.”

Welles would irritate his co-stars by overlapping his own lines with their dialogue, ad-libbing, and mumbling to the point where his lines were barely comprehensible, she added.

Despite him being annoying, Angela also said of him: “There was something you couldn’t resist about Orson.”

In a 2001 interview, quoted on TCM.com, Angela said of Paul and Joan: “They seemed to have such a total understanding of each other that they were able to work in scenes where they were at each other’s throats or falling under each other’s spell.”

My thoughts on the movie:

I like the Southern feel of this movie, the acting, the complex relationships. I love watching Ben try to break through Clara’s hard exterior. No matter how hard she tries to resists him or how many times she pushes him away he keeps trying.

I love how the women are very strong in the movie but not so strong that they are outright disrespectful, even though they probably should be in some cases.

Paul’s smirk works well in just about every movie he’s in but it really works in this one. It’s hard to read what his real motives are sometimes, but deep down I feel like he does want something better than what he’s had. I feel like he does want a family and to be successful on his own merit.

This movie has a Tennessee Williams feel to it even though it is based on one main story and other stories by William Faulkner. It did not have a Tennesse Williams’ ending, at least.

On a more shallow level, I don’t know what they were thinking with Joanne’s big eyebrows and those way too short bangs. Despite how much I didn’t like the look they went for, I really enjoyed watching her character develop and blossom and reveal herself to be different than who we think she is for the first half of the movie.

Watching the jealousy unfold in Jody as he desperately tried to be what his father wanted him to be was difficult to see. The poor guy has no idea how to be a man of his own and is always trying to be what he thinks his daddy wants him to be.

Orson really wasn’t good in this movie. He really wasn’t. I don’t know what happened to him or why he performed so awful but from what I read online it was flat out jealousy over his younger counterparts who were associated with the Actor’s Studio. I also read he was only 10 years older than Paul in this film – 42 years old – but he looks terrible! He wore a prosthetic nose which I can not figure out the point of.

As for Angela, she pulled off her part well and it was fun to watch her with a thick Louisiana accent. Every time I see her in one of her early movies, I really do find myself forgetting she was Jessica Fletcher. She would have been so much better in this one if she hadn’t had to act across from Orson who was way over acting.

Trivia and Facts:

  • Orson Welles always wore a fake nose when he worked, so when he would sweat on this film, his fake nose would slip. Make-up people had to keep applying material to keep the fake nose from falling. (source TCM.com)
  • The director was Marty Ritt and Paul filmed five other films with him including Hombre, Paris Blues, The Outrage, Hemingway’s Adventures of a Young Man, and Hud. (source, excerpt from Paul Newman biography on Lit Hub)
  • In his biography Paul Newman wrote of Orson: “Orson couldn’t understand screen generosity, where one actor allows another player in his scene to deservedly get the best camera shots. Screen generosity was not part of Orson’s vocabulary. After a number of retakes on a scene he did with me, Orson asked Marty if he could have a private word with him. They stepped away together, and seemed to be discussing something rather serious. When they came back, we did another take, and afterwards, I asked Marty what was going on.

“Orson thought you were submarining him,” he said; it was an actor’s way of saying someone was stealing his screen time.” (source, excerpt from Paul Newman biography on Lit Hub)

  • The director, ‘Martin Ritt’ , was forever known after this movie as the man who tamed Orson Welles. During filming Ritt drove Wells into the middle of a swamp, kicked him out of the car and forced him to find his own way back in the hot Louisiana heat. (various/several sources)
  • Joan and Paul were married in January 1958 and the movie released in March. (TCM.com)
  • When the movie was complete, the director and others watched it and noticed they could barely here Orson at times. The director felt sure Orson had purposely mumbled his lines to make the sound more difficult because he was unhappy with not having control.
  • From TCM.com: “The success of The Long, Hot Summer helped Martin Ritt reestablish himself as a major director following his 5-year blacklisting from Hollywood. It also showcased the talents of young up-and-comers Joanne Woodward and Paul Newman, who won Best Actor that year at the Cannes Film Festival for his portrayal of Ben Quick. It marked both the beginning of long and distinguished careers for the talented couple as well as the beginning of one of Hollywood’s longest and happiest marriages.”
  • The Long, Hot Summer was based on the works of southern writer William Faulkner, most notably his 1940 novel The Hamlet. (source: TCM.com)
  • The movie was turned into a television series in 1965. It starred Roy Thinnes as Ben Quick, Nancy Malone as Clara, and Edmond O’Brien as Will Varner. O’Brien eventually left the show and was replaced with Dan O’Herlihy. Legendary director Robert Altman directed the pilot. (source: TCM.com)
  • Copied directly from TCM.com’s article because I thought it was interesting and I didn’t want to summarize it: Although William Faulkner was best known as a novelist and short story writer, he did work as a screenwriter in Hollywood for 20th-Century-Fox during the thirties and forties. A good deal of his work went uncredited and he was never successful in adapting any of his own work for the screen (although he did do a screen treatment for “Barn Burning” but it was never produced). He did, however, receive credit for the screenplay adaptations of Ernest Hemingway’s To Have and Have Not (1944), Raymond Chandler’s The Big Sleep (1946) and a few other scripts such as Submarine Patrol (1938) for director John Ford and The Road to Glory (1936) for director Howard Hawks.

    Other William Faulkner film adaptations include The Story of Temple Drake (1933, based on his novel Sanctuary), Intruder in the Dust (1949), The Tarnished Angels (1958, based on his novel Pylon), The Sound and the Fury (1959), Sanctuary (1961), The Reivers (1969), Tomorrow (1972, based on his story), and an uncredited Russian adaptation of Sanctuary entitled Cargo 200 (2007, aka Gruz 200).

Have you ever seen this one?

My last Angela movie will be Something for Everyone. I don’t know anything about it so I’m going into it blind.

If you want to read about some of the other movies I watched, you can find them here:

Bedknobs and Broomsticks

The Manchurian Candidate

National Velvet

The Pirates of Penzance

Gaslight

The Pirates of Penzance

Gaslight

Please Murder Me

Death on The Nile

The Court Jester

The Picture of Dorian Gray

A Life At Stake

Sources:

Paul Newman on the Lusty Time He Had Filming The Long Hot Summer with Joanne Woodward

https://lithub.com/paul-newman-on-the-lusty-time-he-had-filming-the-long-hot-summer-with-joanne-woodward/

Behind the Camera, The Long Hot Summer: https://www.tcm.com/tcmdb/title/308663/the-long-hot-summer#articles-reviews

The Long Hot Summer and The Newmans: https://vanguardofhollywood.com/the-long-hot-summer/

Lisa R. Howeler is a blogger, homeschool mom, and writes cozy mysteries.

You can find her Gladwynn Grant Mystery series HERE.

You can also find her on Instagram and YouTube.

Summer of Angela: The Court Jester (with some spoilers but not the ending)

/ Lisa R. Howeler / 13 Comments

This summer I am watching Angela Lansbury movies.

This week I watched The Court Jester (1955) with Angela, Danny Kaye, and Basil Rathbone. It is a musical/comedy.

The main words to describe this movie are silliness, ridiculousness, and peak Danny Kaye moments.

It really fell apart toward the end, I felt, but there were some hilarious moments that made up for it.

First, a bit of the plot with a description from Google:

“Former carnival performer Hubert Hawkins (Danny Kaye) and maid Jean (Glynis Johns) are assigned to protect the infant royal heir from tyrannical King Roderick I (Cecil Parker). While Jean takes the baby to an abbey, Hawkins gains access to the court by impersonating the king’s jester, unaware that the jester is really an assassin hired by scheming Sir Ravenhurst (Basil Rathbone). When Princess Gwendolyn (Angela Lansbury), falls for Hawkins, a witch secretly aids him in becoming a knight.”

This film is just a lot of craziness caused by misunderstandings, misdirection, and generalized oopsies.

We start the movie by learning that an entire royal family was killed so that the current King, King Roderick I, could take the throne.  Actually, though, the entire family wasn’t killed, according to rumors anyhow. The rumors say an infant survived and bears upon his bottom a birthmark of a purple pimpernel.

The rumors further say the child is being cared for in the forest by an “elusive, dashing outlaw” known as the black fox. As if to prove these rumors, one of the king’s men is killed as they are riding near the forest and a note attached to the arrow announces that the child is alive and The Black Fox has him.

Not sure why this was being announced because I would think it would be better to keep this all a secret until the child is older and then they bring the child in to overthrow the usurper, but…what do I know?

After the note scene we are taken to the castle where the king’s advisor, Sir Ravenhurst (Rathbone), is stating the rumor about the child being in the care of the black fox is simply a silly story to scare the king. The other advisors say there is something to the rumor and to the power of the black fox. They feel that the king should form an alliance with Griswold of the North because he is strong and has men who can help them fight against The Black Fox.

Ravenhurst is against this and the other advisors say it is because Ravenhurst wants to be the king’s right hand man and have more power.

The king says even if he wanted to form an alliance he doesn’t have anything to offer Griswold to sweeten the deal. The one advisor says that the king does have something he could give Griswold — the hand of his daughter Gwendolyn — our fair Angela — in marriage.

Angela is gorgeous in this movie. She’s super skinny (not that she’s ever been big), tall and elegant.

My son told me recently that young Angela was beautiful and that even “old Angela” in Murder She Wrote wasn’t so bad. I can’t wait to show him her in this film (I watched it on my own) because this will further solidify his feelings.

Gwendolyn says she is not interested in marriage because the castle witch, Griselda, told her that a more dashing man than Griswold would be coming along to sweep her off her feet.

Now the scene switches to the lair of the black fox, where Hubert tells the black fox he has brought a group of midgets with him from the carnival (Hubert’s former job) to fight for The Black Fox. This brings me to one of the weirdest promo photos I’ve ever seen:

I’ll be seeing this one in my nightmares tonight.

It is the job of Danny’s character, Hubert, to care of the baby and he thinks it is a job that should go to a woman. Well! How rude.

But The Black Fox doesn’t agree and tells Hubert he will continue the job.

Hubert is a little more excited about having to take care of the baby when he is charged with traveling with the beautiful Jean to take the child to the abbey for protection.

When I was reading about the actors in this movie, I found out that Glynis Johns (Jean) also played the mother in Disney’s Mary Poppins. The first one, of course.

Anyhow, moving on — The pair stop for the night and that’s when they not only admit their feelings for each other (smoochy, smoochy) but a man stumbles into the small stable they are in and asks to stay with them for the night. He’s on his way to see the king, he says. He is a court jester and his name is Giacomo.

Ah-ha! Hubert and Jean were just talking about how it would be a good thing if they had a spy in the castle who could tell them if the king was coming after The Black Fox. How very fortuitous this unexpected meeting has been.

Giacomo is knocked out and Hubert steals his clothes and his wagon, which is emblazoned, for some weird reason, with Giacomo’s name across the back of it.

So Jean takes off toward the abbey and Hubert takes off toward the castle.

Sadly, Jean is captured by soldiers from the castle who are looking for good looking women for the king. The baby is hidden in a basket and she and the baby are taken to the castle where she manages to hide the baby away from the king and his men.

Meanwhile, Gwendolyn learns that Griselda lied to her about the dashing man and is about to have her killed when Hubert shows up on the road below and Griselda claims that he is the man that Gwendolyn is supposed to marry.

Whew. This plot is starting to get pretty twisted at this point. From here on out, things get pretty crazy with Griselda casting spells and poisoning people left and right. Ravenhurst also thinks that Giacomo (Hubert) is an assassin who is going to take out the three advisors who wanted to create the alliance with Griswold.

Before all is said and done there will be sword fights, a jousting match, fake and real romances, a midget army, and, of course, plenty of musical numbers by Mr. Kaye.

There is also the famous scene between Danny, Glynis Johns, and Mildred Natwick where they discuss which vessel the poison is in.

Here is a clip of it, in case you’ve never seen the movie:

I won’t share too much more in case you want to watch the movie yourself.

The movie was directed by Norman Panama and Melvin Frank.

According to an article on TCM.com, Panama and Frank formed a production company with Kaye called Dena Productions, named after Danny’s daughter, after Kaye’s success in 1947 with the film The Secret Life of Walter Mitty.

The idea behind the production company was to introduce the real Danny to film audiences. He had been acting on Broadway and in smaller productions on stage for years.

The Court Jester was the company’s second movie and proved to be a huge success but not right away. It actually bombed at the box office, despite it’s stellar cast. Years later though it was regarded as one of Danny’s finest films with, according to TCM, “comedy routines that have entered the annals of film history.”

Amazon features trivia and facts through their xray feature when you watch  a movie there on a computer or device. I often forget that because I usually watch the movies on my TV but this time I watched part of the movie on my phone and bits of the trivia popped up.

One of them was a story from Danny’s daughter who said that fans often came up to him and recited the entire tongue twister scene for him.

What Angela said about the movie:

Angela had been playing mainly dramatic roles before this movie and was able to have some fun with the role. Part of that fun was watching Danny Kaye work she said in the Kaye bio Nobody’s Fool by Martin Gottfried.

“His use of hands was inspired by commedia dell’arte,” she said. “And in the way he moved, he was absolutely original; he was one off the mold.”

She added, “Danny wasn’t an ensemble player – he was the one around whom everyone danced, and we all dressed to him. We never stopped laughing. There was none of that moodiness he could have elsewhere, that abruptness, ignoring people. If something interested him, sparked him, he came alive. The minute that was over, he was closed for business, which I think is true of many of the great comic performers. They are constantly out to lunch. Where they are, I don’t know.”

 Gottfried also wrote an autobiography on Angela and said of her role in the movie: “It allowed her to play not only a princess, but a princess her own age. She was made up to look young and lovely. She got to wear beautiful clothes that showed off her fine, slender figure.”

What I thought overall

This was a ton of fun. As I mentioned above, I wasn’t a huge fan of the ending when things started to fall apart in some ways and just descend into chaotic ridiculousness but that was a minor issue when there were so many other great moments and interactions in the film.

Angela wasn’t in this one a ton but she was in it enough to enjoy her mix of wide-eyed adoration of Danny’s character and her devious ways to get what she wanted. She truly was beautiful in the film as well.

I loved the wordplay and back and forth between the characters. None of the songs really stuck out to me but they were fun.

This is a great film to escape into and forget about your problems with. The bright and colorful outfits alone will distract you from the stresses of your days.

Trivia about the movie:

Basil Rathbone had made many movies where he was the sword-wielding villain so when it came to his role in this film, he was ready. He was 66 at the time, though, having already redefined Sherlock Holmes in 14 films from 1939 to 1946, and wasn’t ready for how quick Danny would be able to move the sword. A body double had to be called in to film some of the fencing scenes because Danny was moving so fast that Basil was almost injured. It was because of his superior fencing skills that no one was injured but he still couldn’t keep up with Danny’s fast, though less accurate, moves.

According to TCM.com. “(Basil’s) talents were carefully observed by Danny:  With his quick reflexes and his extraordinary sense of mime, which enabled him to imitate easily anything seen once, Kaye could outfence Rathbone after a few weeks of instruction.” (various sources, including TCM.com.)

During the “Maladjusted Jester” sequence, King Roderick I (Cecil Parker) kicks Hawkins (Danny Kaye) every time he makes a mistake. It took 11 takes, and afterward, Kaye said he had bruises all over his hip. (source IMdB)

The “Now I can shoot and toot” speech during “The Maladjusted Jester” was previously said by Danny Kaye in Up in Arms (1944).

From IMdB: “This was composer Vic Schoen‘s first movie. He was not officially trained in the mechanisms of how music was synchronized to film, so he had to learn on the job. It took him a long time, but he was very proud of his work. Composer Igor Stravinsky listened to his score and later complimented Schoen, saying he had broken all of the rules.”

A U.S. Civil War reenactment group, The American Legion Zouaves of Richard F. Smith Post No. 29, Jackson, Michigan” performed the intricate high speed marching maneuvers during the knighting ceremony. (source, Classic Movie Hub)

Have you ever seen this movie?

What did you think?

Cat from Cat’s Wire shared her thoughts on the movie here..

Here is what is left of my Summer of Angela:

August 1 – The Court Jester

August 8 – The Picture of Dorian Gray

August 15 – A Life At Stake

August 22 – All Fall Down

August 29 – Something for Everyone

If you want to read about some of the other movies I watched you can find them here:

Bedknobs and Broomsticks

The Manchurian Candidate

National Velvet

The Pirates of Penzance

Gaslight

Please Murder Me

Death on the Nile


Sources:

TCM.com     https://www.tcm.com/tcmdb/title/4501/the-court-jester#articles-reviews?articleId=99293

Classic Movie: https://www.classicmoviehub.com/facts-and-trivia/film/the-court-jester-1956/#google_vignette

IMdB: https://www.imdb.com/title/tt0049096/?ref_=tttrv_ov_bk

Summer of Angela Summer of Angela: Please Murder Me (with tiny spoilers but not big ones)

/ Lisa R. Howeler / 16 Comments

This summer I am watching Angela Lansbury movies for the Summer of Angela.

I switched some things up a couple of weeks ago and slid The Pirates of the Penzance and this week’s movie, Please Murder Me, in place of a couple of TV movies Angela was in. I do have an interest now in watching one of the ones I replaced, so I may do that on my own.

This week’s movie starred Angela with Raymond Burr. It was short, sweet, and to the point, and very good. My husband watched it with me and said this movie would be considered a “B-movie” back in the day, but it was a very good B-movie to me.

I have been remiss in sharing where I have found these movies to watch so I do want to share that this one is free on Tubi and YouTube. The reproduction quality isn’t the best because it is a “b movie” and is now in the public domain. This means people can put this movie up wherever they want and not get hit with a copyright claim. I’ve found a lot of cool movies that way through YouTube and Tubi.

The movie seems to show, no matter where you find it, lines down the middle and sides from the old film. I am not sure if there are cleaner copies out there or not.

The description of this movie is that Raymond Burr portrays a lawyer who finds out his client, who he just got off for murder, is actually guilty. There is a lot more to it than that, but that’s the bottom line.

According to TCM.com, the movie’s screenplay was based on a teleplay by E. A. Dupont and David Chantler on Big Town (CBS, 1954).

It was directed by Peter Godfrey.

The movie starts with Raymond walking down a street, going into an office, and then speaking into a tape recorder (reel-to-reel) telling whoever hears the recording that in 55 minutes he will be dead.

We then have a flashback that will encompass the bulk of the movie.

That flashback consists of us learning that Burr’s character, Craig Carlson, is in love with his best friend’s wife Myra Leeds (Angela). We find this out because Craig tells Joe Leeds (Dick Foran) and says that he and Myra are going to be married and Craig would like Joe to divorce her.

Joe is oddly calm about this and as he leaves Craig’s law office, says he needs some time to think.

Before long we are in the Leeds’ apartment and Joe Leeds has met his maker. He’s under a sheet and Myra is being questioned by a plain-clothes cop who clearly thinks her self-defense story is absolutely garbage.

Myra says that Joe lunged at her, furious that she told him she wanted a divorce, and that she, terrified that he was going to kill her, shot him.

Uh-huh. Are we, the viewers, buying this?

Well, yes, I was because I hadn’t read the synopsis of this film before I watched it so I thought she might actually be telling the truth but…..not really sure.

Craig has, of course, volunteered to be Myra’s defense attorney.

It isn’t too much of a spoiler to say (since all the descriptions online already say this) that after the trial Craig discovers that Myra wasn’t being very truthful.

The problem is that in the United States a defendant can’t be tried twice because of the concept of “double jeopardy.”

Now Craig has to figure out how to make Myra pay for what she did to her husband and his best friend. Craig already felt guilty about having an affair and now the guilt is insurmountable and has a hefty helping of betrayal piled on.

I have only seen Raymond Burr in the old Perry Mason episodes and Rear Window but have enjoyed his acting in both and I enjoyed his acting in this movie as well.

He mainly played villains in the beginning of his career.

Here he portrayed a bit of a darker Perry Mason or as the author at Heart of Noir stated “a three-dimensional, complex lead role” who is “both a home wrecker and a cuckold, which demands of him quite a balancing act of emotions.”

Overall, I liked this movie and I enjoyed both Raymond and Angela’s performance.

I read a piece of trivia that I will share below that involves Angela taking the job because she needed the money and she may have only done it for the money, but she seemed to put her all in it.

I really enjoyed her performance, even if it was toned down from what she would show in films such as The Manchurian Candidate. One might say this role was a good preparation Eleanor Shaw.

I loved the use of light and shadow in the film. I am a huge fan of black and white photography and films that use shadow and light to highlight what the photographer or director wants the viewer to focus on.

In this one, there was a lot of shadow around the subjects with light hitting their eyes or whole face during tense scenes when a secret was about to be revealed or a confrontation was had.

My husband and I agree on some points about the movie.

There could have been more explanation of the plot. There was some missing information throughout which led to rushed scenes.

“Instead of being only an hour and 14 minutes it could have been an hour and 45 minutes,” my husband said.

This would have given us time for a bit more background and exposition.  We both agree that these minor issues didn’t take away from the overall story, however.

I like what Heart of Noir said about the movie: “From the pre-credits opening scene of an unidentified man walking the city sidewalk past scummy-looking bars and peep shows, the film oozes with economy, bland interiors and soupy darkness combining with overhead shots and Dutch angles to disorient the viewer and create an occasional dream-like feeling.”

I also enjoyed this assessment by PopOptiq: “The picture earns its fatalistic conclusion with a gut-punch plot resolution to Craig’s tireless mission to expose Myra. If anything, the film is yet another reminder of the range both Raymond Burr and Angela Lansbury had as actors. Both became legends through very different projects on television, making this reunion, before their popularity erupted, all the more interesting a time capsule.”

Trivia or facts:

  • According to Angela Lansbury’s authorized biography, this movie was filmed in an abandoned supermarket near Yucca and Franklin Streets in Los Angeles. Lansbury and her husband Peter Shaw were at a low financial point in their marriage and they needed the money. After the film was finished, she applied for unemployment insurance. (source IMdB) (An insert by me here: her husband was Peter Shaw and she played Eleanor Shaw in a movie? Like…weird!)
  • The film was made the same year that Raymond Burr auditioned for the role of Perry Mason.
  • Lamont Johnson’s who plays . . . well, I’m not going to tell you so I don’t spoil anymore of the story …. Is in this movie and this was his last movie as an actor before he became a full-time director. He mainly directed stage and television productions.
  • The opening credits featured the cast, writers, director and producers. The crew appeared in the closing credits.  (source TCM.com)
  • Please Murder Me was the first film made by Gross-Krasne, Inc., which was run by executive producers Jack J. Gross and Philip N. Krasne. (source TCM.com)

A quote from the movie that I liked, “My whole life has meant just meant three things,  my love for Joe, my work, and my love for you. You destroyed them all. How much more is left of me?”

Have you ever seen this one? If so, what did you think?

Cat from Cat’s Wire also watched the movie this past week and wrote about it on her blog here.
For next week, I am switching The Mirror Cracked, based on an Agatha Christie book, for Death on the Nile, based on another Agatha Christie book. I’ve been reading that Death on the Nile is better than The Mirror Cracked..

Here is the full list of movies left to watch for this feature:

July 25: Death on the Nile

August 1 – The Court Jester

August 8 – The Picture of Dorian Gray

August 15 – A Life At Stake

August 22 – All Fall Down

August 29 – Something for Everyone

If you want to read about some of the other movies I watched you can find them here:

Bedknobs and Broomsticks

The Manchurian Candidate

National Velvet

The Pirates of Penzance

Gaslight

The Pirates of Penzance

Sources and additional resources:

Please Murder Me: https://heartofnoir.com/film/please-murder-me-1956/

Please Murder Me IBdB: https://www.imdb.com/title/tt0049621/trivia/?ref_=tt_dyk_trv

TCM.com: https://www.tcm.com/tcmdb/title/86833/please-murder-me/#overview

Wikipedia: https://en.wikipedia.org/wiki/Please_Murder_Me!

‘Please Murder Me’ sees underrated greats Lansbury and Burr go head-to-head: https://www.popoptiq.com/please-murder-me/

Summer of Angela: The Pirates of Penzance (1983)

/ Lisa R. Howeler / 16 Comments

This summer I am watching Angela Lansbury movies for the Summer of Angela. Up this week we have The Pirates of Penzance, which is a bit of a switch up from my original list. You can read more about that below, but first just a quick note —  Last week, Cat from Cat’s Wire watched Gaslight and talked about it on her blog. You can read her thoughts here. She compared the British and American movie versions and a German televised version of the original play, and I think the post is so much fun!

And now on to this week’s movie, which I switched around from my original plan. I was going to watch the TV movie, The Shell Seekers, but instead, I thought that I would watch one of Angela’s Broadway/musical performances for fun — The Pirates of Penzance with her and Kevin Kline. The movie is a reproduction of the Joseph Papp’s Broadway production.

I will tell you upfront that halfway through the movie, I had to check that I wasn’t having a fever dream. I also realized I’m very old and my ears are in even worse condition than I thought because I had no idea what was being said in any of the songs. I even tried close captioning but because I watched it for free on YouTube, it didn’t work so well.

I also couldn’t figure out what was happening most of the time.  Still, I pushed forward and ended up enjoying it in places and being utterly baffled in other places.

A description from Google:

“Frederic (Rex Smith), who has spent his formative years as a junior pirate, plans to mark his 21st birthday by breaking free from the Pirate King (Kevin Kline) and beginning his courtship of Mabel (Linda Ronstadt). But because he was born on Feb. 29, a date that only arrives every fourth year, Frederic isn’t technically 21 — and the Pirate King is still his master. Unless something gives, Frederic will soon be on a collision course with the Pirate King’s new nemesis: Mabel’s father.”

 The movie starts with the people in town coming out of church, seeing the pirate ship off shore, and locking up all their doors.

Then we are on the pirate ship with Frederic and the Pirate King and the rest of the crew celebrating Frederic’s birthday. It is after all the singing that Frederic announces that now that he is 21 he can leave the ship and his service with the Pirate King.

This is when Ruth (Angela), Frederic’s nursemaid, tells him that all those years ago when his father wanted him to apprentice with a pilot and she heard “pirate” instead.

Frederic has a strong sense of duty, which is why he stayed with the pirates and committed crimes with them all those years. But now that he is no longer bound to them, he vows that when he leaves the ship, he will fight against the pirate and the criminal acts he and his crew try to commit.

“Individually, I love you all, with affection unspeakable. But collectively, I look upon you with a disgust that amounts to absolute detestation.”

Frederic sees pirates as scum but if they are going to be actual pirates, he does wish they would attack people stronger than them instead of pretending they just don’t want to hurt anyone. Instead, they just don’t want to get beaten. There is also a whole song about how they won’t attack anyone who says they are an “orphan” because they are also orphans.

This word said in a British accent becomes important later in the movie when there is a whole hilarious debate about if they are saying “orphan” or “often.”

Anyhow, Ruth wants to leave with Frederic and marry him, but Frederic isn’t so sure about it. He’s never really met other women and wants to know if Ruth is attractive. The pirate and crew assure him that she is, simply because they would like to get rid of her too.

Frederic agrees to take Ruth with him but discovers, when he sees a group of women frolicking together near a small pond, that she is not actually attractive and is instead just old.

He sends Ruth away and approaches the women, who turn out to be sisters, and asks which one of them would like to marry him.

Yeah….this musical is weird.

What follows is a song where he hits an incredible note and does a little impression of Elvis.

A lot of silliness follows all this including the singing of the famous song “I Am The Very Model of a Modern Major General.” That was a lot of fun. I always wondered what the song came from. The speed which the nonsense for this song is spit out is insane.

Fun is the key word for this movie. The songs are fun – though I still don’t know what they were saying in half of them. Wait. I’ve mentioned it like ten times now that I didn’t know what they were saying half the time, didn’t I? Okay, I’ll stop doing that.

Also, I did finally look up the lyrics so I could follow along. They didn’t make much more sense that way, but, hey, at least I knew what was being said.

I should note that I did read that a lot of this musical is satire and making fun of some elements of British society during the time the original comedic opera was written in 1879, which is why it seems ridiculous at times.

One thing I can say after seeing this is that Angela was so talented — it seems like there wasn’t anything she couldn’t do — acting, singing, dancing, producing, writing… wow. I’m still trying to figure out if she actually hit the high note in the one song but if she did…wow again!

I am a huge fan of some musicals — Fiddler on the Roof, Singing in the Rain, South Pacific, etc., but this one? I didn’t know what to make of it at first, and from what I am reading, that is a bit of the point of Gilbert and Sullivan musicals.

Their musicals are, I guess, nonsensical at times, and that’s what makes them fun. After reading more about the musical/movie, I understood it more, watched parts again, and liked it more than I did with my first run through.

At first, I decided I’d never watch the movie or musical again, but it grew on me on the second time around — especially Kevin Kline and his unbuttoned shirt. I mean.. his musical and acting talent.

Rex Smith (who I’d never heard of before) was amazing. The pipes on him. WOW.

The resolution on this video is not great but the singing….sheesh!



I had to look him up to see if he had been in anything else and apparently, besides his stage work, he’s most well-known for starring in a show called Street Hawke in the 1980s as well as for being a popular singer in the late 70s with his song You Take My Breath Away.

I would be remiss if I didn’t mention Linda Ronsdadt. I really don’t think I had a clue she sang this amazingly. I don’t know a lot about her at all so her voice totally shocked me! I thought she was just a pop singer . . . I feel embarassed I didn’t realize her range.

The Pirates of Penzance was released on Pay TV at the same time it was released in the theater, which made it a flop at the box office because theater owners boycotted it as a form of protest. Boy, if the theater owners from back then could only see what’s going on these days with movie releases!

Because of the boycott, the film ended up making less than a $1 million total during it’s entire time in the theaters.

It also received mix reviews from critics, but over the years it has become a type  of cult classic among musical theater fans.

Those who have seen it over the years, especially when they were young, hold a special place in their heart for it.

Cat Smith of Film Obsessive had this to say about Angela replacing Estelle Parsons, who was in the original Broadway production:

“The movie version of the Papp production came out in 1983. It’s pretty much the same experience as the stage. The biggest differences are some superfluous cuts to the score and the upgrading of the character Ruth. No offense to Estelle Parsons (we love her), but let’s face it—Angela Lansbury would be an upgrade of pretty much anyone.”

Of when Ruth and the Pirate King return to find Frederic she writes: “Apparently, once officially rejected by Frederic, Ruth went back to the pirates who not only welcomed her, they got her a fabulous makeover to boot. Not going to lie, my boyfriend and I have this head canon in which the Pirate King and Ruth wind up together since he knows better than to be prejudiced against a hot older woman. They do their best to frump her up for Act 1 but let’s face it—Queen Angela. Need I say more?”

(Aside: I had considered watching Angela in Sweeney Todd for this movie-watching event, but — wince — that really isn’t my type of movie/Broadway musical. Maybe I’ll watch it at some point, though.)

In past posts I have shared with Angela thought of the movie she was in, but….I couldn’t find any interviews with her about this one so I don’t have that. I do, however, have some trivia/facts.

Trivia or facts:

  • Kevin Kline won the 1981 Tony Award (New York City) for Best Actor in a Musical for “The Pirates of Penzance” Broadway 1981 to 1982 production and re-created his role in this cinema movie. It was Kline’s second Tony Award after having won one for “On the Twentieth Century”. Kline also starred in the precursor New York Central Park stage production and that park production’s subsequent made-for-television movie, The Pirates of Penzance (1980).
  • Linda Ronstadt loved the musical so much when she read about it that she played the part of Mable first in Central Park and then on Broadway for $400 a week. She then played it in the movie. It was her only movie role. She was nominated for a Tony when she played it on Broadway.
  • In Act II, there is an extra song (“My Eyes Are Fully Open”) that is not originally from “The Pirates of Penzance.” It’s a modified version of a song from Sir W.S. Gilbert and Sir Arthur Sullivan‘s “Ruddigore”. The inclusion of this song required Kevin Kline, Dame Angela Lansbury, and Rex Smith to sing one of most dizzyingly rapid songs in the entire Gilbert and Sullivan catalogue. (source IMdB)
  • The source Broadway stage production was preceded by a 1980 Joseph Papp production of “Pirates of Penzance”, which was part of a “Shakespeare in the Park” series of free plays in New York City’s Central Park, which had the same cast of principals as the movie and the Broadway stage production (except for Ruth). (source IMdB)
  • Writer and Director Wilford Leach, with this movie, knew what kind of movie he wanted to make. Leach wanted to create an “illusion of reality” which actually was “reality askew”. Leach, according to the January-February 1983 edition of Coming Attractions Magazine, “tried to delineate a colorful and comic world that is always true to its own logic.” (source IMdB)

Have you seen this version of the musical or the musical itself anywhere?

Cat from Cat’s Wire shared her thoughts about the movie here.

Up next in my movie watching journey, I have switched things up again and have replaced the Murder She Wrote two-part movie with Please, Murder Me from 1951, starring Angela with Raymond Burr.

The rest of the list remains the same:

July 25 – The Mirror Cracked

August 1 – The Court Jester

August 8 The Picture of Dorian Gray

August 15 – A Life At Stake

August 22 – All Fall Down

August 29 – Something for Everyone

Additional resources:

The Pirates of Penzance: For Some Ridiculous Reason…

https://filmobsessive.com/film/film-analysis/film-genres/comedy-films/the-pirates-of-penzance-for-some-ridiculous-reason/

Wikipedia https://en.wikipedia.org/wiki/The_Pirates_of_Penzance_(film)

IBdB trivia: https://www.imdb.com/title/tt0086112/trivia/

Summer of Angela: Gaslight (1944)

/ Lisa R. Howeler / 15 Comments

This summer I am watching Angela Lansbury movies for the Summer of Angela.

This week I watched Gaslight (1944), which was Angela’s first movie and also her first nomination for an Academy Award. I think I stated before that she won the Oscar, but she didn’t. Whoops!

She was 18 years old when she portrayed Nancy, the odd, boisterous and flirty housemaid of Ingrid Bergman’s character.

After I watched it, I knew this movie was going to be hard for me to write about without giving tons of spoilers and without expressing my strong desire for one particular character to die, or at least suffer greatly by the end of the film, but I am going to try not to in case any of you who haven’t watched it want to watch it later.

Ahem.

Sorry for being so blunt about wanting a character to die or suffer, but…. it is true.

This movie is about a woman who is made to believe she is insane.

That’s pretty much the description. Here is a little more from Google, though: “After the death of her famous opera-singing aunt, Paula (Ingrid Bergman) is sent to study in Italy to become a great opera singer as well. While there, she falls in love with the charming Gregory Anton (Charles Boyer). The two return to London, and Paula begins to notice strange goings-on: missing pictures, strange footsteps in the night and gaslights that dim without being touched. As she fights to retain her sanity, her new husband’s intentions come into question.”

It stars Ingrid Bergman as Paula Alquist, Charles Boyer as Gregory Anton, Angela Lansbury as Nancy Oliver, and Joseph Cotten as Brian Cameron. 

When I asked my 80-year-old mom if she wanted to watch the movie with me this week, she said, “No! Oh no!” and looked horrified.

That didn’t make me feel excited to watch it until she explained it wasn’t a bad movie, just somewhat dark and creepy. I told her that her response reminded me of how she might react if I asked her if she wanted to watch The Birds with me. The Birds is my mom’s least favorite movie.

When I was a child, she once came rushing into the house from mowing the lawn.

“The birds!” she cried waving her arms over her head, brushing at her hair. “The birds! They were swooping! Swooping down at me like in that movie! Swarming me! The Birds!! The Biiiiirds!”

Needless to say, that was not a movie I ever watched with her and won’t ask her to watch again.

Anyhow, Gaslight is based on a UK version of the movie, which was based on a play called Gas Light (two words). As far as I know, the American version is considered the better version since it was nominated for seven Oscars, winning two, including one for best actress for Ingrid.

Joseph Cotten portrays a police inspector, whose interest in an decade-old murder case is piqued when he sees a woman who looks like the victim. It turns out the woman is the niece of the murdered woman.

Cameron wants to know more about what is going on and why the niece never leaves the house, or if she does it is for a very short time and never without her husband. He finally gets his chance when Paula stands up to the controlling Gregory and tells him she wants to leave the house for an event they were invited to by a woman she knew as a child.

Throughout the movie her husband has been accusing her of stealing or moving things, suggesting she doesn’t remember when she does the these things and hinting, more than once, that she might be insane. Even at the event she finally is able to go to he accuses her of stealing his watch, which leads her to having a near mental breakdown in public.

As the movie goes on, we begin to wonder who is actually crazy, but we do know that her husband seems pretty horrid and abusive. We also know that one reason Paula thinks she is crazy is because she notices the brightness of the gaslights decreasing and increasing throughout the evening, something no one else in the house seems to notice.

I don’t want to give too much away, but this movie did have me on edge throughout the entirety. I felt such anxiety for Ingrid’s character and a lot of anger toward her husband, though I wasn’t sure what was really going on.

Angela’s character was evil and selfish. That’s the only way I know how to describe her. She definitely was brilliant in her role because she made me so uncomfortable. If I could describe her even more succinctly, I would say “what a trashy little tart.”

What Angela said about the movie:

Angela was 17 when she auditioned for the movie.

“As far as I was concerned, I was very consciousness at the age,” Angela said in an interview with the SAG-AFRTA Foundation. “So I went about learning my lines and listening to George Cukor direction and he directed the test . . .I did it with an actor called Hugh Marlow who played the part of Charles Boyer’s role (for the test) and we did a very extensive test.  I’m glad we did. Cukor took great care because I think he really wanted me although the first decision was that I wouldn’t play it, you know, I was too young. But I signed a contract anyhow because Albie Mayer saw my test when he came back from a trip back east to see his horses … and he saw my test and said ‘sign that girl.’”

Angela said she had a lot of interaction with L.B. Mayer, who ran Metro-Golden-Mayer (MGM) studios and that she was very fond of him. Not only did he sign her but also her mother and wanted to sign her twin brothers, but they decided not to let the twin sign. Instead, they later became writers for the movie and television industry.

After being nominated for Oscars for both Gaslight (1944) and The Picture of Dorian Gray (1945), Angela says she was never considered a starlet, always an actress. That made her job a little easier.

Angela said that she was glad in many ways that she didn’t win the Oscars she was nominated for because in her view many people who win Oscars second guess what their next steps will be. They often overthink what roles they need to take next because they are always thinking about being as good as an Oscar winning role, she said. She thinks that for her she didn’t have that pressure. She just went with whatever she wanted to do next, though she was a little disappointed that MGM didn’t have anything lined up for her so she could use the momentum of the success from her first two movies.

She went on with laughter in the interview saying that she was nominated for her first two movies and “it all went downhill from there.”

Angela was  nominated again, however, for The Manchurian Candidate in 1963 where she played the role of a mother to an actor who was only three years younger than her. She told the interviewer that she felt the fact she was given roles where she was playing older women showed her that she was always a character actor.

In a 2000 interview with NPR’s Fresh Air, Angela recalled how the audition for Gaslight really came about.

“Well, I was introduced to the studio, which was MGM, by a young man who was being considered for the role of Dorian Gray. His name was Michael Dyne. And he arranged that the casting director would see me, this young English girl, who at that time was – I think I was 17. And I went to the studio with my mother and was interviewed for the part of Sibyl Vane in “Dorian Gray.” And the head of casting, a man called Billy Grady, came into the room while I was sitting there. He said, sort of whispered in the ear of Mr. Ballerino, the man I was seeing, you know, you should suggest that this young lady meets George Cukor, who’s trying to cast the role of the maid in “Gaslight.” And so right then and there, I was whipped off to meet George Cukor. And so, well, the rest, as they say, is history.”

The interviewer asked Angela if she was aware of some of the darker elements of the film, or was she a little naïve because she was so young at the time.

“I can’t honestly say, except by my on-set demeanor,” she responded. “I think my on-set demeanor was a very, very careful, covered, rather shy attitude about what I was doing. And when I say that, I don’t mean that I was aware of that, but I know from my own uncertainty about my personal – you see; I’ve always been a very private person. When it comes to the work, I’m on solid ground. When it comes to the – Angela Lansbury the young woman, I was on very uncertain ground.”

She continued: “So, I had to marry those two rather carefully. And that’s why, as I say, I always felt that I had to, shall we say, tread rather warily from a personal point of view. Just listen and hear and do what I was told and asked to do. I could discuss it, but I – in most instances, I was pretty quick to pick up directorial indications from somebody like George Cukor because he was extremely clear and funny and helpful. And what he said I understood. So you could say I was fortunate in that I could understand what he wanted and then deliver it. This is what I do, and this is what I always maintained throughout my career – was that I had that ability to take direction and also to understand what the – what was required of the character.”

Angela turned 18 on the set and had this to say about that time: “Oh, it was required that there was a social worker with me until my 18th birthday, which I celebrated on the set of “Gaslight,” actually. And I always remember it because Ingrid and Charles and George Cukor were so wonderfully kind. And Ingrid gave me lovely bottles of Strategy, which was a lovely, smelly cologne, which – I’d never had anything as lovely as that – and powder, you know, sort of talcum powder and things that, you know, set. I always remember that. It’s interesting, the things you do remember.”

This part made me laugh so I had to include it: “And we celebrated. And I was able to take a cigarette out of a packet in my purse and smoke it, which I hadn’t been able to let on, that I had been smoking from the time I was, really, about 14 years old. I say that without any sense of pride at all. And I stopped smoking 30 years ago. But nevertheless – I don’t know if you remember, but I do smoke a rather long Cigarettello in the movie. And that was part of the business in the movie of “Gaslight.” But they only let me puff it. And I wasn’t allowed to inhale, as Mr. Clinton would say.”

As Mr. Clinton might say. Wahahaha! I remember that interview with him. He didn’t inhale and he didn’t have sexual relations with that woman…well, we all know how that second one went.

Anyhow,

You can read and listen to the full interview with Angela here https://www.npr.org/2022/05/27/1101435407/angela-lansbury-looks-back-on-her-great-performances-on-stage-and-screen

 It was fascinating to me.

A bit of trivia or facts:

  • According to TCM.com: “MGM head Louis B. Mayer, determined to eliminate the competition for what was expected to be one of the studio’s biggest hits of the year, ordered all prints of the 1939 British version purchased and destroyed. Prints, however, did survive, and the film turned up again in the 1950s, often under the title of the original 1938 stage production, Angel Street.”
  • MGM tried to sue Jack Benny in the 50s because he presented a spoof of the movie called Autolight. Benny played Charles Boyer’s character and Barbara Stanwyck performed as Bergman. The comedians lawyers argued the skit was in the realm of parody and therefore not a copyright violation and the suit was dropped.
  • Ingrid Bergman was filming The Bells of St. Mary’s when she won her Oscar for Gaslight. The star of the film, Bing Crosby, and the director, Leo McCarey, had previously won Oscars. In her acceptance speech Ingrid quipped: “I am particularly glad to get the Oscar this time because I’m working on a picture at the moment with Mr. Crosby and Mr. McCarey and I’m afraid if I went on the set tomorrow without an award, neither of them would speak to me.”
  • From TCM: “In the big confrontation scene between the chambermaid and the lady of the house, Lansbury was required to light a cigarette in defiance of her mistress’s orders. But because she was only 17, the social worker and teacher assigned to her would not allow her to smoke until she was a year older. When her 18th birthday arrived, Bergman and the cast threw her a party on the set, and the scene was done shortly after.”
  • Director George Cukor suggested that Ingrid Bergman study the patients at a mental hospital to learn about nervous breakdowns. She did, focusing on one woman in particular, whose habits and physical quirks became part of the character. (source IMdB)
  • The first time Ingrid Bergman encountered Charles Boyer was the day they shot the scene where they meet at a train station and kiss passionately. Boyer was the same height as Bergman, and in order for him to seem taller, he had to stand on a box, which she kept inadvertently kicking as she ran into the scene. Boyer also wore shoes and boots with two-inch heels throughout the movie. (source IMdB)
  • Charles Boyer‘s wife, Pat Paterson, was pregnant with what would be the couple’s only child. Boyer and Paterson had been trying to have a baby for many years, and Boyer was exceptionally nervous while making Gaslight. He rushed between takes to call and check on his wife’s health as the expected birth date grew nearer. The baby was expected to come after Boyer had finished working on this movie, but he arrived early. Boyer broke down in tears when he was notified, and he informed the rest of the cast and crew of his son’s birth. Production was halted for the day and the cast and crew opened up bottles of champagne to celebrate the birth. (source IMdB)
  • Angela had been working at Bullocks Department Store in L.A. before getting the part in Gaslight. When she told her boss that she was leaving, he offered to match the pay at her new job, expecting it to be in the region of her Bullocks salary of the equivalent of twenty-seven dollars a week. He was shocked to find out she’d be earning $500 a week. (source IMdB)

Cat from Cat’s Wire also watched the movie this week and you can read her thoughts here. She compared the British and American movie versions and a German televised version of the original play. I absolutely loved how she compared these three!

Here is my full schedule of movies I am watching for the Summer of Angela:

Blue Hawaii

The Manchurian Candidate

National Velvet

Bedknobs and Broomsticks

July 11 –  The Shell Seekers

July 18 – Murder She Wrote: The Celtic Riddle

July 25 – The Mirror Cracked

August 1 – The Court Jester

August 8 The Picture of Dorian Gray

August 15 – A Life At Stake

August 22 – All Fall Down

August 29 – Something for Everyone

Additional resources:

Angela Lansbury Looks Back on Her Great Performances on Stage and Screen:

https://www.npr.org/2022/05/27/1101435407/angela-lansbury-looks-back-on-her-great-performances-on-stage-and-screen

Gaslight Review: The Hollywood Reporter: https://www.hollywoodreporter.com/movies/movie-news/gaslight-review-1944-movie-999932/

From TCM: https://www.tcm.com/tcmdb/title/166/gaslight#articles-reviews?articleId=29976

The Essentials (Gaslight): https://www.tcm.com/tcmdb/title/166/gaslight#articles-reviews?articleId=89327

In the Good Old Days of Classic Hollywood, Gaslight: https://crystalkalyana.wordpress.com/2015/10/04/gaslight-1944/

Lisa R. Howeler is a blogger, homeschool mom, and writes cozy mysteries.

You can find her Gladwynn Grant Mystery series HERE.

You can also find her on Instagram and YouTube.

Summer of Angela: The Manchurian Candidate

/ Lisa R. Howeler / 24 Comments

This summer I am watching movies starring or co-starring Angela Lansbury.

This week I watched The Manchurian Candidate (1962)

 Angela was nominated for an Oscar for best supporting actress for her performance as Eleanor Shaw and, wow, did she deserve that nomination.

First, a description of the movie from Google:

Near the end of the Korean War, a platoon of U.S. soldiers is captured by communists and brainwashed. Following the war, the platoon is returned home, and Sergeant Raymond Shaw (Laurence Harvey) is lauded as a hero by the rest of his platoon. However, the platoon commander, Captain Bennett Marco (Frank Sinatra), finds himself plagued by strange nightmares and, together with fellow soldier Allen Melvin (James Edwards), races to uncover a terrible plot.

Highlights for me:

The opening scenes are completely mental and crazy. Scary too. I don’t want to give too much away in case you’ve never seen this. So I won’t. All I can say is seeing one of the Baldwin sisters from the Waltons ask a man in her sing-song voice if he’s ever killed anyone messed me up just a bit.

An interesting cinematography tactic used a few times in this movie is to make the character closest to the camera blurred out and the person in back in focus. This is something photographers sometimes do, commonly by using the rule of thirds, but it is more common to have the forward subject in focus and the person in back blurred out. I find this director’s decision to film scenes this way very interesting and visually interesting.

Frank Sinatra’s acting is superb in this. I have never seen him in a serious role, so it threw me a bit, but he was so good.

I can’t recall if I have ever seen Laurence Harvey in a movie before, but he was very compelling as Raymond Shaw.

What I thought of Angela:

Angela was nominated for an Oscar for best supporting actress for her performance as Eleanor Shaw, the mother of Raymond Shaw.

Nothing about the character in this movie reminds me of the Angela who is in Murder She Wrote. Now, of course the woman played many roles, but I am most familiar with her on Murder She Wrote so I had to prepare myself for seeing someone completely different and that is exactly what I got. Eleanor Shaw is absolutely not Jessica Fletcher.

Eleanor Shaw is vindictive, mean, and hungry for money and power.

“It’s a horrible thing to hate your mother,” Raymond tells Bennett at one point. “I didn’t always hate her. As a child I just sort of disliked her.”

That was before she did something he could not forgive.

Eleanor is completely domineering with her second husband, Raymond’s stepfather, and a senator.

She tells him what to do, when to do it, and how to do it.

“I keep telling you not to think.” She tells him at one point in the movie. “You are very, very great at a great number of things, but thinking isn’t one of them, hon’.”

Eeek.

She gave me chills.

(photo)

Here is a clip of Angela as Eleanor.

What I thought overall:

I was so nervous during this movie. I was nervous they wouldn’t believe Frank’s character about the dreams he was having and that the movie would just keep going on this nightmare path of him trying to prove he wasn’t crazy.

It was just a total mind trip all the way through, and I kept wondering who was a spy or sleeper agent and who wasn’t.

I figured out the ending before it happened and I was certain what one of the final scenes would be but I was still biting my nails.

I was actually very excited when part of the ending I thought would happen did happen. I was a little sad at the part of the ending that I didn’t expect.

The acting in the movie was outstanding across the board. Of course the messaging was a bit too timely for today and that was unnerving.

A bit of trivia:

There was a rumor that this movie was pulled from ever being shown on TV because of how it featured similarities to the assassination of Kennedy and speculation by some that the idea for his assassination came from the movie. Some say that Frank Sinatra locked the movie up in his vault because he controlled the rights to it. Another movie he starred in that involved assassination, Suddenly (1954) also disappeared for years after the Kennedy assassination.

According to an article on TCM.com, “. . . Sinatra’s control only extended to the film’s rights after seven years. There is, however, apparently some truth to the story that after JFK was murdered a year after the picture was released, some exhibitors requested it be given another run to capitalize on the event but that United Artists refused.”

Another disputed theory involved  a financial and legal disagreement between United Artists and Sinatra but that was later said to not be true. Some even said Sinatra simply neglected to keep the movie in distribution. (Guess he was too busy with the mob, etc. *wink*). To this day there isn’t really a definitive answer on why the movie fell out of existence for so many years but I lean toward all of the fall out from Kennedy’s assassination.

“What is certain is that during its “lost years,” the film built up a great reputation,” the TCM article states. “’The movie went from failure to classic without passing through success,” noted its screenwriter, George Axelrod. When it was finally re-released in 1988, it was a big box office hit (as well as a success on its subsequent video/DVD release) and earned even more rave reviews as one of the best pictures of that year.”

I thought it was so odd that Kennedy was given a copy of the film to preview in 1962.

A few more trivia tidbits (some of these may not be totally accurate but I don’t have time to vet each one):

  • Frank Sinatra reputedly had a swimming pool designed with a large painting on the bottom of the Queen of Hearts playing cards  … I won’t say why in case you haven’t seen the movie.
  • Director John Frankenheimer once claimed The Manchurian Candidate didn’t do well financially because the studio chose to promote another Sinatra picture, The Pride and the Passion (1957), but that film had actually been released five years earlier.
  • Frank Sinatra broke the little finger of his right hand on the desk in the fight sequence with Henry Silva. Due to on-going filming commitments, he could not rest or bandage his hand properly, causing the injury to heal incorrectly. It caused him chronic discomfort for the rest of his life.
  • The movie was filmed in only 39 days (!!)
  • According to executive producer Howard W. Koch, the budget was $2.2 million. Of that amount, $1 million went for Frank Sinatra‘s salary, with another $200,000 for Laurence Harvey, leaving only $1 million for everything else.
  • The topic of this movie was considered politically so highly sensitive that it was censored and prohibited just before its theatrical release in many of the former “Iron Curtain” countries, such as Poland, Czechoslovakia, Hungary, Romania, Bulgaria – and even in neutral countries such as Finland and Sweden. The theatrical premiere for most of those countries was held after the collapse of the Soviet Union in 1993.
  • By his own admission, Frank Sinatra‘s best work always came in the first take. Writer, producer, and director John Frankenheimer always liked the idea of using the freshness of a first take – so nearly all of the key scenes featuring Sinatra are first takes, unless a technical problem prevented them from being used.
    (Sources, Imbd and TCM.com).

What Angela said about the movie:

Frank Sinatra actually wanted Lucille Ball for the roll of Eleanor Shaw.

“That would have been fascinating,” Angela said. “You wouldn’t believe that she could be this devil incarnate though.”

As for how she got the part she said, “I think Frankenheimer (the director) just put his foot down.”

“I had just finished working with John on We All Fall Down and he came into the room where we were looping some lines and he slapped this very heavy book on the table and he said to me, ‘There’s your next role.’”

He told her what the book was, who wrote it, who was going to write the screenplay and added, “You’ll be fabulous as the mother.”

Angela was actually only three years older than the man who played her son. Say what??!

To become an older woman she simply acted as she felt the character would act, without worrying about age, she said.

In an interview she said many people asked her what it was like to work with Frank Sinatra and she always tells them she doesn’t know because they didn’t have any scenes together other than a quick one where they were getting their coats on.

It wasn’t until later she learned that Frank Sinatra was an integral part of making sure the movie was made.

“I know that Frank wasn’t the easiest person for John to work with,” she said. “But they seemed to have an alliance. I think Frank understood what a tremendous opportunity it was for him to play this role. He knew that his friend (President) John Kennedy adored the book. Frank talked to JFK about the role and one of his questions oddly enough was ‘who’s playing the mother?’”

Of the suspense of the movie, Angela said, “You really didn’t know who anybody was.”

Of the movie overall she said, “I think we all knew we were in rather racy territory. We were doing something pretty unique and different. This is going to turn a few heads you know.”

“It was out of circulation for many, many years,” she said. “It came back in 1988 as a revelation to be had. The whole generation saw it, who recognized it for what it was and they absolutely took it to their hearts and it became the most important piece of work any of us had ever done. Suddenly John Frankenheimer was recognized, Frank Sinatra was recognized as an actor. I was recognized as an actress who played one of the most evil women in human history. I had a whole new acceptance from an audience who didn’t know who the devil I was. So I have great feelings of fondness for The Manchurian Candidate for that reason.”

Have you seen this movie?

I rented it on Amazon, but it is also streaming on Google Play, Pluto TV, Apple TV and Fandango. Or your local library might have it.

Later this week I will be writing about a totally different movie than The Manchurian Candidate, National Velvet.

Other movies I will be watching for this Summer of Angela are:

June 27 – Bedknobs & Broomsticks

July 4 – Gaslight

July 11 –  The Shell Seekers

July 18 – Murder She Wrote: The Celtic Riddle

July 25 – The Mirror Cracked

August 1 – The Court Jester

The Manchurian Candidate trailer:

____
Additional sources:

Trivia & Fun Facts About THE MANCHURIAN CANDIDATE (TCM) with spoilers!! :https://www.tcm.com/tcmdb/title/19293/the-manchurian-candidate#articles-reviews?articleId=136794

Angela Lansbury talks to Alec Baldwin about The Making of The Manchurian Candidate: https://youtu.be/Sjqs66SoTXQ?si=MeU5SbwFRMBnlRhP

Angela Lansbury looks back at the making of The Manchurian Candidate: https://youtu.be/kLwO-2_GIbM?si=cWQoMwa1ARwzzAX6

Springtime in Paris: Charade

/ Lisa R. Howeler / 5 Comments

Erin from Still Life, With Cracker Crumbs and I have been watching movies that take place in Paris for the last couple of months.

For our last week, we watched Charade with Audrey Hepburn and Cary Grant.

Directed by Stanley Donen this movie was released in 1996 and tells the story of Reggie Lambert (Hepburn) and Peter Joshua (Grant) who meet briefly on vacation in the Alps. When Reggie returns home, she finds that the husband she’d planned to divorce has been murdered, but before he was murdered, he sold the contents of their apartment, including all of her possessions.

A mystery ensues and what follows is a movie that was good but was very confused about which genre it should be in.

When Reggie returns to Paris and her empty apartment, a police officer approaches her and tells her that her husband was found in his pajamas dead by the train tracks and that he was apparently trying to leave Paris quickly.

While Reggie was discussing her husband at the beginning of the movie with a friend, and we learned he was wealthy, we learned very little about him and now it is clear that Reggie also learned very little about him. As the police show her several different passports from different countries with his face on them, she begins to realize she didn’t know the man at all.

Reggie is bewildered later when Peter Joshua shows up to her empty apartment and says he read about the murder in the newspaper and wanted to check on her.

She believes the police think she murdered him.

Peter offers to find her a hotel room until she can find a new job and apartment.

Peter asks what she’s going to do now that her husband has been murdered and she says she’s going to try to get her old job as a translator back.

At his funeral, Reggie is even more bewildered, because there aren’t any guests other than her and her friend. Three American men (James Coburn, George Kennedy, and Ned Glass) show up and either spit on him, poke his body, hold a mirror to his nose, to make sure he is dead, or say something inappropriate. James Coburn approaches her and doesn’t offer condolences. He just says, “Charlie had no reason of doing it thatta way. No siree.” and walks away.

Um..okay…poor Reggie is even more bewildered.

A large man then approaches, handing her a letter requesting she visit the American embassy the next day to discuss the death of her husband.

She shows up to meet with Walter Matthau who seems to know her husband. He informs her that her husband was wanted by the CIA and his real name was Charles Voss. He also tells her that her life might be in danger.

He suggests that she somehow has the money her husband earned from selling all their possessions. That money is the same amount he stole from the United States government during World War II, he says. He instructs Reggie that she needs to find the money and return it to him before the other, dangerous men find her.  Looking for help and someone to talk to, Reggie contacts Peter, who decides one way to help is take her out for a night on the town to cheer her up. What results is a very strange game where people have to pass an apple down a line of people only using their chins and necks.

So..yeah..that was strange and uncomfortable to watch. *laugh* I am not sure how the actors did the scene without totally falling apart in laughter or embarrassment.

It was nice to see Cary’s familiar goofy expressions in this scene. I’ve noticed watching his later movies that he doesn’t loosen up the same way he did when he was younger which is natural, but also hard to watch sometimes.

The game leads Reggie and Peter in some compromising positions where they pause to look at each other for a long time and you can tell in that moment that Peter is thinking about what it would be like to kiss her and vice versa.

It’s all fun and games until all three men track Reggie down at the club and begin to threaten her for the money they think she has.

This movie is categorized as a comedy/thriller which makes it a little hard to figure out at times. I sometimes wondered if I was supposed to laugh or feel dread during certain scenes. There is a terrifying scene where one of the men (Coburn as Tex) keeps lighting matches and dropping them on her lap while she screams and cries and I couldn’t laugh at that scene so I don’t know what the director and writers were going for – maybe that was it — to have the viewer not sure what to think.

When Peter convinces Reggie to tell him what he is going on, he decides he will help her find out why she is being pursued and tells her that he will keep the men from hurting her. Now we viewers have to  decide with Reggie who Peter is and if he is really a good guy or not.

I read that Cary actually didn’t want this role at first because he said he felt like a predator, going after the younger Audrey.

That’s funny since he was in many movies in his older years where he was “going after” younger women and he married a woman much younger than him, but I digress….

Cary turned 59 during filming and it was this movie that made him decide it was time to stop playing the romantic lead. The reviews focusing on the 26 year age difference between him and Audrey was one big driving factor in this decision, he later said.

He was so uncomfortable with the idea of their age gap he asked for the script to be changed so screenwriter Peter Stone made Audrey the aggressor and Cary the man trying to fight her off.

Stone said he wrote things like “Can’t you just think of me as a woman?” and have Cary say, “I’m already about to get into trouble for transporting a minor above the first floor.”

He then says, “Come on, child, let’s go.”

Stone said, “Cary made me change the dynamic of the characters and make Audrey the aggressor. She chased him, and he tried to dissuade her. She pursued him and sat in his lap. She found him irresistible, and ultimately he was worn down by her. I gave him lines like “I’m too old for you, get away from me, little girl.’ And ‘I’m old enough to be your father.’ And in the elevator: ‘I could be in trouble transporting you beyond the first floor. A minor!’ This way Cary couldn’t get in any trouble. What could he do! She was chasing him.”

When I first started the movie, I was afraid I wasn’t going to like this film at all. Cary’s acting was stilted and “off” for me right from the start.

I found some parts of the movie confusing and odd because of its identity crisis, or inability to choose between being a comedy or a thriller, but I don’t want to spoil too much of the movie by commenting on which parts.

What I will say is that it was just weird to that Audrey’s character continued to throw herself at Cary’s character even when she isn’t sure who he really was. And this is just after her husband has been murdered and she is being pursued by people who want money her husband stole.

I enjoyed the action and the movie overall but really would have liked it the movie had picked a lane and stayed in it.

This was Cary’s chance to finally work with Audrey, by the way, after turning down leading roles in at least four movies she’d been in — Roman Holiday (1953), Sabrina (1954) and Love in the Afternoon (1957). He’d turned them all down because of the quarter-century age difference between them, according to TCM.com.

The rumor at the time was that he’d also turned down the role of Henry Higgins in My Fair Lady because he didn’t want to work with Audrey. This wasn’t true, but instead was a decision made out of respect of Rex Harrison who had created the role on Broadway.

The article on TCM.com reads: “In the Barry Paris biography, Donen recalled that “Cary thought he was going to do a picture with Howard Hawks called Man’s Favorite Sport? [so he] said no to Charade. Columbia said get Paul Newman. Newman said yes, but Columbia wouldn’t pay his going rate. Then they said get Warren Beatty and Natalie Wood. So I got them and Columbia decided they couldn’t afford them or the picture. So I sold Charade to Universal. In the meantime, Cary had read Hawks’s script and didn’t like it. So he called me and said he would like to do Charade.”

I want to share another quote from the TCM article because it is such a funny story: “ In Audrey Hepburn: A Biography by Warren G. Harris, the director recalled: “I arranged a dinner at a wonderful Italian restaurant in Paris. Audrey and I arrived first. Cary came in, and Audrey stood up and said, ‘I’m so nervous.’ He said, ‘Why?’ And she said, ‘Meeting you, working with you – I’m so nervous.’ And he said, ‘Don’t be nervous, for goodness’ sake. I’m thrilled to know you. Here, sit down at the table. Put your hands on the table, palms up, put your head down and take a few deep breaths.’ We all sat down, and Audrey put her hands on the table. I had ordered a bottle of red wine. When she put her head down, she hit the bottle, and the wine went all over Cary’s cream-colored suit. Audrey was humiliated. People at other tables were looking, and everybody was buzzing. It was a horrendous moment. Cary was a half hour from his hotel, so he took off his coat and comfortably sat through the whole meal like that.”

Despite that awkward first meeting, the pair apparently hit it off very well, even ad-libbing some of their lines.

Do you ever look up trivia like this for movies when you watch them or am I just the weirdo in the group?

Have you ever seen this one? What did you think of it?

You can read Erin’s thoughts here: https://crackercrumblife.com/2025/05/08/springtime-in-paris-charade/

If you wrote about today’s movie, or any of the movies we watched during this movie event, you can post your links below.

Also, thank you so much for participating and I hope you all had fun taking part! Do you have an idea for a themed movie event? Let us know in the comments!

I hope you will join us for the next one, though I am not sure when we will do it. Erin and I both have a lot going on in our personal lives with family health situations so we might not hold one until autumn. Not sure yet. We will have a meeting of the minds on it at some point.

We are, however, holding Drop In Crafternoons where we meet on Zoom and do crafts of any kind while chatting.

I had planned to try one this weekend but things are a bit up in the air right now with my parents’ health and the fact my whole family came down with a cold/virus and I am waiting to see if I am next, so we are sticking with one on May 24th for now.

You are invited to the Inlinkz link party!

Click here to enter
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Classic Movie Impressions: That Touch of Mink

/ Lisa R. Howeler / 7 Comments

I needed something to distract me from every day life last week so I watched That Touch of Mink with Doris Day and Cary Grant. I am very certain I’ve watched either all or part of this movie before but it has been years so I didn’t remember much about it.

This is quite a modern movie for 1962.

Cary Grant is a no nonsense, yet still kind and understanding, businessman and Doris Day is a young woman from a small town living in a big city and trying to find a job.

This movie was meant to be a comedy, so I tried not to be too uptight about how Cary Grant was essentially trying to get into Doris Day’s pants without actually committing to a relationship for the entire movie.

I have to say that I didn’t really like Cary for most of this movie and my husband said it is probably because of the fact Cary really didn’t want to make the movie, according to articles he has read about it. While I didn’t find articles online specifically saying he didn’t like the film, I did find information that Doris Day wrote in her autobiography that Cary was polite and professional on set but that there was really no “give and take” between them.

First a little summary:

This movie takes place in 1962 starts with Doris Day walking down the street and getting splashed by a car that Cary’s character (Philip Shayne) is riding in. He feels bad but he can’t stop because he is on his way to a very important meeting. We find out later that Doris’s character (Cathy Timberlake) is looking for a job and Philip is a shrewd but also generous businessman with a friend, Roger, (played by Gig Young) who is a bit of a leach. Philip does actually feel awful about splashing Cathy and tells Roger he’d love to find the woman and apologize.

Luckily they are looking out the office window not long afterward and see Cathy walking into a diner across the street.

He orders Roger to take her some money to apologize. Roger is hoping the woman will want to tell Phillip off. He’s sick of Phillip getting all the women despite his flippant attitude. Cathy does want to tell Phillip off so Roger takes her to Phillip immediately.

Unfortunately for Roger, Cathy falls for Phillip immediately. Phillip sees this as a chance to sweep another woman off her feet by taking her on trips around the world.

He starts to do just that and Cathy wants him to like her so she goes along with him — flying to Baltimore for a speech he’s giving, then to Philadelphia for a quick dinner. One night he even takes  her to a New York Yankees game, into the dugout where we meet the real Roger Maris, Mickey Mantle, and Yogi Berra.

Soon though, Phillip wants her to go on vacation with him to Bermuda and she’s not sure if she means he wants her to stay in the same room with him or if they will have separate rooms. He definitely wants her to stay in the room with him, which causes her to breakout in a full body rash and skuttles his plans.

She’s a good girl from Sandusky, Ohio after all. Girls from Sandusky don’t go running off with men on vacation and sleep with them unless they have a ring on their finger and have said “I do” to marriage vows.

Cathy returns home disappointed in herself because she didn’t sleep with Phillip but also fairly annoyed at him for thinking she would after they’ve known each other for only a short time.

She wants to break out of her boring girl mold, though, and decides to try again — telling Phillip she’ll go with him again to Bermuda and she will give him what he wants. She doesn’t say exactly that but the viewer gets her drift.

Sadly, things don’t work out this time either but you will have to watch the movie to find out why.

The movie is a series of miscommunications, silly tropes, and goofy interactions. One of those miscommunications is between Roger and his therapist. Roger is sharing the story about Cathy and Phillip but the therapist walks out of the room and only hears part of the story, leading him to believe that Roger is becoming involved with another man, which I thought was a very progressive (for lack of a better word) joke for the early 1960s. That joke carries on throughout the movie with Roger continually trying to update the therapist on Phillip and Cathy but the therapist instead believing that Phillip has been trying to woo Roger instead.

I found it interesting that this movie was one of the last ones where Cary was a leading man.

It was his 69th movie and he was in his 50s. An article on TCM.com states that he must have known his time for playing leading men was waning.

“He made one more picture in which he was the dashing leading man, Charade (1963), opposite Audrey Hepburn,” the article reads. “After that, he appeared as a grizzled old beachcomber in Father Goose (1964), then as a British gentleman who plays Cupid for the young romantic leads in Walk Don’t Run (1966), his last film before retiring from the screen.

The article goes on: “Doris Day’s string of box office hits continued though with somewhat diminishing returns over the next six years in ten more films. After With Six You Get Eggroll (1968), the actress retired from the big screen. Her hit TV sitcom, The Doris Day Show, ran from 1968 to 1973, changing formats and storylines almost very season.”

As for my feelings on the film, I liked it overall but didn’t like the message that women should just go sleep with men they are not married to. The end of the movie would have feminists of today growling in anger but it was most likely what made most every day movie goers happy at the time.

I couldn’t figure out while I watched it if Cary was bored during the movie or if it was how he was playing Phillip Shayne. Maybe he wanted Phillip to have no real personality beyond seeming bored and like he expected women to fall in bed with him. The man didn’t even seem excited by the prospect of sex. He just seemed to expect that it would happen, and he would move on to the next woman.

Years ago, I was reading about Cary and his use of LSD as an attempt to help him with his depression and other mental issues. Many psychiatrists at the time prescribed LSD as part of psychological therapy. It wasn’t yet a recreational drug.

Both Gig Young and Cary used the therapy and as I researched for this film I read that Gig sadly killed his 31-year-old wife and then himself in 1978 when  he was 64. I wonder how much the drug affected his brain at the time and left him worse off than he had been. He was also an alcoholic, though, so that most likely played an even larger role than the LSD. Either way it is sad.

 I also sometimes wonder if the drug was why Cary seemed so blasé and uninterested in his movies during this particular time period.

I don’t think this is a movie I would watch again but it was a fun escape.

I should also  mention the other star of the movie: The Automat.

The Automat was an automatic-type diner where restaurant goers could go in and choose what they wanted by pushing a button on what looked like post office boxes and then could open a door and the food would be slid to them through the tiny hole. I had never seen anything like it before this movie. Cathy’s friend Connie worked at one and delivered the food. That’s where Cathy would go to talk to her. It seemed like a very busy job since Connie and only one or two other co-workers would have to slide the food into the little box for the people to retrieve.

Have you ever seen this movie? What did you think of it?